Disturbed

“Ten Thousand Fists” (Warner Brothers)

Compare to: Breaking Benjamin, Saliva, Korn

Disturbed’s new disc “Ten Thousand Fists” is solid proof that these wrongly-stereotyped arena-rock gods have once again given the finger to those who have judged them by genre and not by the actual music itself.

The band’s pummeling onslaught starts right away with “Ten Thousand Fists,” the title track. Guitarist Dan Donegan’s intricate guitar parts are perhaps the best he’s ever composed. On every song, Donegan’s fingers seem to weave quickly between and among all the frets with grace, as drummer Mike Wengren lays down his meticulous double bass beats with absolute precision.

David Draiman has also remained on his pedestal as his lyrics have become deeper, even political at times, especially on “Deify” and “I’m Alive,” two of the album’s most radio-friendly tracks.

The best song on this album is “Stricken.” Everything about it screams classic Disturbed with Draiman’s half sung, half yelled-in-frustration vocal fluctuations, sing-along chorus and an absolutely killer guitar solo from Donegan.

The only weak parts of this album are “Overburdened,” which is too ballad-ish to fit the Disturbed mold, and a really terribly done cover of the Genesis classic “Land Of Confusion.” The members of Disturbed are great musicians, but Genesis is an entity. Its songs should not be touched by anyone.

Anyone who loves straight up hard-rock that borders on metal or is just flat-out solid, with some slight anger, will love this new disc.

(Buy it)

– Dan Hopper

Nirvana

“Nevermind” (Geffen)

Compare to: Soundgarden, Alice in Chains, Mudhoney

Nirvana changed the music industry with the release of its sophomore album, “Nevermind.” Although Nirvana signed to Geffen Records, it managed to appeal to large masses of people without conforming its personal indie style to something more mainstream.

The album takes on a range of different tones, ranging from melancholy croons to high energy punk vibes. Bassist Chris Novoselic and drummer Dave Grohl keep the music stable, whereas legendary front man Kurt Cobain is like an explosive firework.

The album kicks off with, “Smells Like Teen Spirit.” This song was the anthem of a grungy denim, flannel-wearing generation. The evocative instrumentals and vocals assured this snarling single would be a favorite of young generations for decades to come.

The album continues with “In Bloom” and the signature strumming of “Come as You Are,” best known by the repetitive guitar chords heard in the background. Both are great examples of Cobain’s raw vocal style.

He appears open and vulnerable at times, then switches to an edgy rock feel without a moments warning.

After Cobain’s death, Nirvana had no choice but to disband and hope that its music would live on. While the verdict may still be out on albums like “Bleach” or “In Utero,” “Nevermind’s” haunting melodies will continue to live on forever.

(Essential)

– Ashley Garbin

Ringworm

“Justice Replaced By Revenge” (Victory)

Compare to: Integrity, Buried Alive, All Out War

Records like “Justice Replaced by Revenge,” are a rare find in the increasingly inflated hardcore scene. They’re not rare because they are pushing musical or lyrical boundaries or because they capture hardcore’s intensity like the genre’s classics.

No, albums like Cleveland-based Ringworm’s latest are rare because they are actually well disguised, feel-good records.

Sure, the music is as ferocious as a hammer blow to the skull and the lyrics reflect only the most negative and aggressive human emotion, but in a more general sense you have to rejoice that some metallic hardcore bands like Ringworm are still around and still getting it right.

All 13 songs on the album are as fast and unrelenting as the euphoria of inhaling a pound of meth and as menacing as the paranoid schizophrenia that accompanies it.

They offer up the kind of hard-lived viciousness that today’s cutesy, cookie cutter Christian “hardcore” bands have missed completely.

The band brings you back to a time when the only three things needed to make it in hardcore were blood, sweat and conviction – not hair, fashion or T-shirt with bleeding flowers on the ribs.

So granted, we’ve heard bands and records like this – we’ve heard them done better, we’ve heard them done faster.

But when we hear it, we can’t help but sit back. And when metallic hardcore was more than just a bunch of suburban kids playing open E chords – it was straight up dangerous.

(Burn it)

– Dante Sacomani

Earth

“Hex: Or Printing in the Infernal Method” (Southern Lord)

Compare to: Sunn 0))), Isis, Khanate

Take a moment to envision the high-noon shoot-out scene in your favorite Western movie: The sweat above the duelist’s brows, the desert sun scorching all the color out of the landscape and tumbleweeds blowing across the pistoleers’ paths.

Now slow that scene down to a snail’s pace. Imagine seeing each individual bullet leave the barrels of the outlaw’s six-shooter, traveling a few millimeters per minute.

Legendary instrumental duo Earth has created the soundtrack to this slow-motion gunfight with “Hex: Or Printing in the Infernal Method.” Whereas Earth’s previous albums relied on super-distorted electric guitars played at a glacial pace, “Hex” sees guitarist Dylan Carlson experimenting with cleaner tones, banjo and baritone guitars, and inviting guest musicians to accompany him and drummer Adrienne Davies on steel guitars.

The songs on “Hex” bear the trademarks of country, Western and blues, shifting Earth’s focus away from droning, minimalist heaviness. This notion is reinforced by the album’s artwork, painstakingly crafted by Khanate guitarist Stephen O’Malley. Incorporating a variety of darkly-hued vintage photographs from the Old West, the art helps and enhances Earth’s attempt to paint musical pictures without words.

After nine years of silence, Earth has returned with a new direction on “Hex.” Although Carlson’s guitar work might be less densely-layered compared to earlier incarnations of the band, it is no less captivating.

(Buy it)

– Joshua Haun

Jamie Cullum

“Catching Tales” (Verve)

Compare to: Michael Buble, Jason Mraz, Harry Connick Jr.

A collaboration between a British jazz singer/pianist and a hip-hop DJ/producer in itself is a crazy thing, and when this collaboration is heard on the opening track of a new album, it’s just plain bold.

But this is what Jamie Cullum concocted on his latest effort, “Catching Tales,” a 14-track disc featuring Cullum’s snazzy piano workings, blaring brass sections, a few covers of jazz standards and some new experimentation with electronics.

Cullum’s previous album, “Twentysomething,” is an upbeat, extremely smart mix of jazz and pop. Cullum’s best qualities – his scratchy croon, witty lyrics and theatrical piano skills – undeniably made the singer flourish. “Catching Tales,” however, seems almost as if Cullum’s curiosity for hip-hop, dance and funk got in the way of production.

“Get Your Way” and “Back to the Ground” are examples of where the experimentation went wrong. Although Cullum keeps the jazz in toe, the funky, poppy electronics distract from his charm. These criticisms don’t dwell too deep, though.

Many of the album’s tracks are refreshing jazzy jaunts. “London Skies” and “Photograph” both highlight Cullum’s happy-go lucky attitude, and his cover of the Doves’ “Catch the Sun” and the soulful “Nothing I Do” are attempts gone well.

Experimentation didn’t work out, but Cullum’s trademarks keep him afloat here, preserving the intelligent jazzy wit Cullum is so good at delivering.

(Burn it)

– Katie Piepel